Lessons
Chapter 1 Introduction
01:26 2Why Just One On-Camera Flash
04:22 35 Reasons to Use Flash
10:37 4Common Flash Myths
06:51 5What Makes Flash Challenging?
04:56 6Chapter 2 Introduction
01:36 7Flash-Strobe vs. Ambient-Constant Light
08:19 8Flash vs. Ambient Light Exposure
03:07Flash vs. Ambient Demo
06:42 10Flash and Ambient Balancing for Natural Effect
07:11 11Flash and Ambient Balancing for Dramatic Effect
04:19 12Flash and Ambient Balancing for Creative Effect
07:10 13Understanding Flash Duration
08:37 14Chapter 3 Introduction
01:34 155 Common Key Light Patterns
08:38 165 Common Key Light Patterns w/ Diffusion & Fill
07:42 175 Common Secondary Light Patterns
08:28 183 Primary Subject Patterns
05:27 19Light Qualities
09:56 20The Inverse Square Law
07:50 21Inverse Square Law in Practice
08:21 22Corrective White Balance
10:02 23Creative White Balance
05:47 24Chapter 4 Introduction
01:58 25On Board vs. Hot Shoe Flash
05:57 26Full Feature vs. Manual Flashes
08:59 27TTL vs. Manual Control
08:12 28TTL vs. Manual Recycle Times
04:43 29Flash Power & Zoom
09:18 30HHS vs. ND Filters
12:29 31FCS vs. RCS
07:11 32Chapter 5 Introduction
01:38 334 Tips When You Must Use Direct Flash
06:00 34Bare Bulbing Done Right
11:42 35Grid Snoot + Direct Flash
06:43 36Mini Beauty + Direct Flash
06:08 37Ring + Direct Flash
07:52 38Understanding Modifiers
09:24 39Direct Flash + Shutter Flash
09:07 40Chapter 6 Introduction
01:55 41Ambient vs. Direct Flash vs. Bounce Flash
14:27 42Silver Bounce
14:27 43More Light Silver
11:02 44Soft White Bounce
15:41 45Overhead Bounce
11:39 46Overhead Bounce + Fill
09:42 47Event Bounce
12:42 48Chapter 7 Introduction
01:38 49Natural vs. Dramatic Light
17:43 50Filling and Refining Existing Light
08:44 51Coloring Light for Corrective Effect
13:33 52Coloring Light for Creative Effect
10:27 53Chapter 8 Introduction
00:43 54Case Study 1 - Dramatic Sunset
09:45 55Case Study 2 - Desert Sunset
10:04 56Case Study 3 - Sinister Headshot
09:40 57Case Study 4 - Family Portrait
08:21 58Case Study 5 - Athlete Portraits
11:19 59Case Study 6 - Working Angles
07:22 60Case Study 7 - Drag + Composite
08:09 61Case Study 8 - Less is More
07:16 62The Good Karma Jar
01:41 63Favorite Feature Flashes
05:52 64Favorite Manual Flashes
21:35 65Favorite On Camera Flash Modifiers
21:21Lesson Info
Why Just One On-Camera Flash
Okay, so let's start from the top. Why are we using just one on camera flash? How does that actually make sense when we're trying to learn lighting one? A one. Well, here's the thing. Is that a typical workshop approach that we have over here on the left? They usually start with expanding your gear. Okay, meeting that. Basically the base. This foundation is learning all of this different type of year that we have. We have on camera flash, we have off camera flash, radio triggers and cables and and all sorts of flash modifiers and so forth. And it's extremely difficult when you're just trying to learn lighting to have to learn all of this year all the same time. And it really will end up slowing you down because, well, you don't really know what does what as of yet. Then, from there they would go into saying you're in a refiner images. You're gonna put a key light here in a fill light. Here you go. And do this and companies amazing, fantastic commercial images. But here's the problem. A...
lot of these workshops start with, like, say, $10,000 worth of lighting year now, for most people, that is completely inaccessible just to start. Okay, Most of you are not going to go out and is by all this gear And if you do buy all that gear well, by the time you learn your style and you learn what type of photography you like to do, you're gonna end up with so much gear that you're not gonna use that it's really just a gigantic waste of time and money. So when it comes to refining remains, how would you do that? How would you start by learning all this gear and then trying to refine your images to look like these commercial images that these people are coming up with? It makes it inaccessible. Practicing the principles becomes a smaller part of these workshops. You basically watch what they're doing, and there's no way for you to get out there and to be actually doing it on your own. Because again, the products in the gear and everything that are using is not accessible to most people. And all through this they're trying to teach the foundation of lighting. But really, in the end, it becomes focused primarily on gear and the foundation of lighting ends up being this little tiny piece of the pie, which really it should be the opposite. So this is kind of our workshop approach were basically flipping it upside down. We want to start by learning the foundation of lighting, because once you've mastered lighting, understanding gear comes incredibly simply. I mean, it's basically learning smaller flashes and moving to bigger flashes and adding more modifiers and so forth. But knowing the foundation of lighting is is, well, the foundation. Once you get that part, everything else is going to come very naturally from there. We want you to practice the principles. Now, if I show you on camera Flash, and I saw you had to use a $20 reflector or whatever modifier to make an image that becomes very accessible. Most of you will already have this gear in your tool kit. You have an on camera flash. If you don't have the modifier. It's easy to spend 20 bucks to buy it, and you can go out in practice What we teach right away this makes things accessible. This makes it so you can go out and test these different lighting principles and see it in real life. And what this allows you to dio is to refine your imagery. The best way toe learn lighting is to get out there and practice guys. You can't learn it by simply following a workshop or reading a book. You have tow, watch these principles, watch the tutorials and then go out and do it on your own by using such simple gear and makes it easy to go out and do it and to refine your imagery. Now, once you've refined your imagery and you're coming out with great professional images and you're seeing the limitations on what you're able to do, that's when we would say to expand your gear. That's when we get in the lighting to one where we take that. The flash off the camera. We're getting lying We're using constant lights, large studio strobes and so forth. But at that point it becomes so simple because all you have to dio you already know the foundation of lighting. All you need to do is just learn one extra piece of year and how to modify it, and that's that simple. It's gonna follow all the same principles that we're covering inside this workshop. So we're gonna create fantastic images inside of lighting one a one, and we're gonna do it all with your on camera flash, which is gonna allow you all to focus on the actual lighting techniques that we're using, how to modify, how to shape, light and create amazing images, regardless of the gear that you have.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Sid
The best class for understanding light and lighting there is bar none. Pye is an excellent teacher and the quality of the material provides for a rich and very informative experience. Pye breaks down the fundamentals in easy to digest packets and then elaborates as needed. If there is one class that you watch this is it! Worth purchasing and saving for future use. I would also HIGHLY recommend downloading the saving the PDF of slides that accompany the videos. Again, and can't say it enough, this is THE BEST video to lighting on Creative Live. A must watch for the novice and the expert.
Petra
Great course, I highly recommend it if you want to become a more confident flash user. Pye is a wonderful instructor and just such a nice guy, it's a pleasure to listen to him
Simon Metselaar
This is the best thing that happened to me since I've been into photography. What a lifesaver. Unfortunately I already payed for some courses that are not Pye, but Pye just nails it. Amazing, and kind of a life hack. Thanks again :)
Student Work
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